spotlightSeptember/October 2014 $2.50 american association of community theatre
Balancing Your Next Season
Theatre From Across the Globe Amazes at aactWorldFest 2014 Ben Vereen Creates a Buzz at aactWorldFest Submit scripts NOW for AACT NewPlayFest 2016 aactWorldFest Awards AACTFest 2015 presented by MTI
Ben Vereen at aactWorldFest 2 AACT Spotlight September/October 2014 President’s Letter
Gary Walker AACT President 2013-2015
As I write this, another aactWorldFest has come to an every production. Clearly something good was happening end – and what a week it was. Once again Venice Theatre at Venice Theatre. His commitment was so special that was our host and delivered the very best. For those who Ben Vereen was made the one and only lifetime member of were there the memories of great performances, workshops, AACT. I look forward to seeing him again and again as he and time with old and new friends will long make this a shares his special talent with us all. great week of theatre. For those who missed it – well – you I could go on praising every production for they are missed a lot. indeed all praiseworthy but my space is limited. One Once again the universal nature of theatre was on more special note. With any AACT event there are great display. Whether the simplest of human relations between participants, great venues, great staff – but most of all there man and woman (or perhaps that is the most complex!) are great volunteers. As I said during the closing event, or abstract expressions of art and music, all of the volunteers at Venice Theatre don’t know how to say no. They performances spoke of the human experience and spoke to only know how to make visitors feel welcomed and how to us clearly. get the job done. Every performance was special and worthy of the My highest complements go out to the people of Venice, highest praise, but I can share a few highlights: the staff of Venice Theatre and aactWorldFest and most of all to those supremely dedicated volunteers. We’ll see you ● The collaboration between the Italian commedia again in 2018! dell’arte masters Andrea Lattari and Cinzia Grande with All of the performances spoke of the human experience and spoke to us clearly. young American artists sparkled. With only a month to DISCOVER NEW develop those difficult skills, the production showed the creativity of the artists and dedication of the American ADVENTURES... students.
● The Loveland Players production of The Century of Music truly demonstrated the ability of theatre as a tool for expression. Loveland Center teaches adults with developmental disabilities life skills through theatre and the production was full of warmth and passion and stars.
● The Argentinian production by La Compasiva Teatro of Our Daily Bread made us laugh and cry and become totally engaged with two actors’ performance without words but with an intimate ability to communicate.
One of the biggest surprises was Ben Vereen performing Go! Chupacabra of the Space Kids in the Secret The Wong and Sasha Diamond Alburo Alton Dan Norman | Featuring: Photo: in the opening ceremonies and conducting his master class. Most amazing of all, he stayed the entire week to experience playsforyoungaudiences.org
September/Octoberr 2014 AACT Spotlight 3 September/October 2014
In This issue In contents Features News
MTI Joins AACTFest 2015 as Presenting Sponsor AACT Member Discounts 23 10 One of the national-level changes that will make AACTFest an even AACT Years of Service Pins 36 better experience AACT on the Road 34
AACT NewPlayFest Announcements 7 12 Two more premieres in the series, and Producing Theatres are announced for the 2016 AACT NewPlayFest IATA Meeting Update 29
NEA Appoints New Chair 32 aactWorldFest 2014 14 Reports and photos from the festival in Venice, FL, which included New Roles 31 productions from thirteen nations around the world Spotlight Award 30
Designing a Perfect Season Vereen Lifetime AACT Member 28 A panel of leaders from diverse community theatres talk about how they 20 choose a season Networking
Advertisers 37 Contacting AACT Artie’s Advocacy Tip 30 AACT 1300 Gendy Street Calendar 38 Fort Worth, TX 76107 Insurance Points 8 817-732-3177 Fax 817-732-3178 (toll free) 866-OurAACT (867-2228) Moving On 38 [email protected] New Play Contests 32 AACT welcomes Spotlight input and requests for advertising rates. Contact David Cockerell at david@ aact.org to submit content. Contact Darlene DeLorenzo Networking Helps 33 at [email protected] for advertising rates and specs. David and Darlene are also available at the phone Opportunities and Resources 37 numbers above. President’s Letter 3
On the cover Spotlight on Boards 35 Ben Vereen kicks off the opening ceremony at aactWorldFest 2014 in Venice, FL. photo by Renee McVety
Find AACT on Facebook Follow us on Twitter
4 AACT Spotlight September/October 2014 September/Octoberr 2014 AACT Spotlight 5 Amateur Rights Now Available DIRECT FROM NEW YORK Hits From The New York Musical Theater Festival!
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6 AACT Spotlight September/October 2014 Announcements
AACT Board Upcoming AACT Meetings Gary Walker, President AACT Executive Committee Grand Rapids, MI (2015) Murray Chase, Executive VP October 10-11, 2014 Venice, FL (2015) Grand Rapids, MI Chris Serface, VP Planning/Development Hosted by Grand Rapids Civic Theatre Tacoma, WA (2016) AACT Winter Meetings 2015 for AACT Board & Committees Sue Ellen Gerrells, VP Public Relations Alabaster, AL (2015) February 18-21, 2015 Kay Armstrong, VP Festivals Charlotte, NC Dallas, TX (2015) Penelope Notter, VP Education Meetings are open. Contact the AACT office for details. Grand Rapids, MI (2016) Frank Peot, Secretary Sun Prairie, WI (2014) Tim Jebsen, Treasurer Midland, TX (2015) Congratulations Linda M. Lee, Past President Fort Worth, TX (2015) The AACT NewPlayFest premiere production of The Vanishing Point by Nedra Pezold Roberts received eight Elly Theatre Award nominations from the Members at Large Emily Anderson Sacramento Area Regional Theatre Alliance (SARTA). Midland, MI (2017) Ron Cameron-Lewis Nominations include California Stage Company for Overall Production and Ontario, Canada (2016) Production of Original Script, Playwright Nedra Roberts for Original Script, Michael Fox Ray Tatar for Direction, Richard Winters for Leading Male, Jeremy Minagro for West Valley City, UT (2015) Rick Kerby Supporting Male, Emily Kentta for Supporting Female, and Buzz Weitz for Set Design. Bradenton, FL (2017) Liz Lydic The Elly Theatre Awards will be presented September 21, 2014 in Scramento, CA. Segundo, CA (2015) Sarah Phoenix Tulsa, OK (2016) Michael Spicer Thanks Salina, KS (2016) Jim Walker to the volunteers of Venice Theatre for their hard work and dedication at Aberdeen, SD (2017) aactWorldFest Region Representatives to Backstage.com for spotlighting AACT in the July article Community I Beverley Lord Foxborough, MA Theater is Alive and Well and Everywhere II Susanne Caviness Glenwood, MD III Joanne Berry Bay City, MI AACT IV Lynn Nelson Spotlight Tupelo, MS V Nancy Eppert Spotlight is published bimonthly by the Insurance Program Independence, MO American Association of Community VI Tracy Alexander Theatre for its members and is annually Midland, TX distributed to an expanded list of known AACT organizational VII Donna Fisher community theatre organizations and Casper, WY interested individuals. members are eligible to VIII Gil Savage Editor: David Cockerell participate in property, San Diego, CA Design: Jim Covault liability, and other IX Jon Douglas Rake Content and resource contibutions: Tacoma, WA coverages of the AACT Marsha L. Amato-Greenspan, Susan Austin, Insurance Program. X Dane Winters Tom Booth, Laurie Colton, David Cockerell, Jim Germany (US Army) Covault, Julie Crawford, Darlene DeLorenzo, Nancy Eppert, Kim Gaesser, Richard Gannon, Anne Gilmour, Jay Handelman, Jeremy Staff Heideman, Simon O. Henderson, Jr., Maureen Julie Crawford, Executive Director Holland, Lindsey Morgan Huffaker, Rick Kerby, Ron Ziegler, Field Services Director Linda M. Lee, Twink Lynch, Karen Matheny, David Cockerell, Marketing/Communications Renee McVety, Kathy Missel, Tim Mitchiner, Lynn Nelson, Gene Papke, Jill Patchin, Kathy Pingel, Director Stephen Peithman, Ken Roberts, Chris Serface, For more information, Darlene DeLorenzo, Advertising/Festival Timothy Slatton, Strauss Peyton Studios, Tay contact: Services Tufenkgian, Gary Walker, Corinne Woodland, 800-749-5646 Karen Matheny, Office Support Manager Kelly Wynn Woodland, Ron Zigler 325-658-4519 Fax Dani Martin, Membership Specialist [email protected] Jill Patchin, Conference Coordinator Vol 30 No 1 © 2014 American Association of Community Theatre All Rights Reserved
September/Octoberr 2014 AACT Spotlight 7 Theatre Insurance:
Insurance Points Insurance Not All Theatre Policies Are Created Equal!
by Ken Roberts
When theatres are shopping for property and liability commit an offense of that nature, an organization would insurance, there are several key coverage factors, aside from still have to expend valuable dollars toward their own legal the price, that should be considered. Many theatre policies defense just to fight such accusations, regardless of how look just like any other commercial insurance policy. If it untrue or unjust those accusations might be. Insurance weren’t for the name of the theatre being on the declarations companies that are comfortable with theatres will sometimes page, the policy could just as well have been written for a offer some limit of abuse and molestation coverage at no dry cleaners or a law office. It’s important to know not only additional charge to the theatre, and who could complain whether the insurance company that is offering the coverage about that price? is comfortable with the class of business, but also if they offer Another incredibly valuable coverage is event cancellation any ancillary coverage enhancements that are specific to the coverage. This is another enhancement that some insurance unique exposures that community theatres present. This is companies provide at no additional charge. It pays theatres not to say that price doesn’t matter, but like the title of the for the loss of income and any necessary expenses incurred 1965 Clint Eastwood spaghetti western, For A Few Dollars as a result of a cancellation, postponement, or relocation of More, getting those enhancements might not be as expensive a production. The cancellation would be covered if it’s due to as theatres might think. unfavorable weather, if the local authorities prohibit the event due to conditions that threaten the safety of the participants or spectators, or if 50 percent or more of the cast becomes ill. How much more would it cost them The coverage even gets triggered if the theatre’s bus or flight is late and the event must be postponed and/or rescheduled. to get a policy from a performing There are plenty of other enhancements that can be arts insurance company that included for minimal cost, such as automatic additional includes the coverages that are insured status to any venue that requires it, or property in transit, or an additional limit for costumes, props, sets, specific to their operations? musical instruments, and audio equipment. The point is, a theatre might be able to find an insurance policy that is cheaper, but how much more would it cost them to get a policy from a performing arts insurance company that includes the Theatres with extensive youth programming can always coverages that are specific to their operations? If a typical benefit from having some abuse and molestation coverage. commercial insurance policy doesn’t include coverage for Even if their volunteers are squeaky clean and would never these things, how much is the theatre really saving? ♦
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8 AACT Spotlight September/October 2014 From the company that brought you the international musical hit, Always...Patsy Cline TED SWINDLEY PRODUCTIONS BRINGS YOU TWO NEW PLAYS AVAILABLE NOW FOR LICENSING. KING OF THE ROAD: THE ROGER MILLER STORY THE WHOLE COTTON PICKIN’ TRUTH ABOUT THE TONY AWARD WINNING COMPOSER OF "BIG RIVER" King of the Road celebrates one of America’s most gifted singer-songwriters in a wildly entertaining musical journey. A brilliant storyteller and performer with an ingenious comic mind, Roger Miller was a multi-platinum recording artist, 11-time Grammy Award winner, star of his own NBC-TV series and a Tony Award winner for the Broadway smash Big River. You’ll find yourself laughing along with one of country music’s funniest observers on his rocky road to stardom and singing along with such classic hits as... King of the Road Dang Me Husbands & Wives Do Wacka Do Chug-A-Lug ...and more!
Book by Cort Casady, Larry Cansler Written for a CAST of 4 and a 6-Piece BAND & Mary Miller For free perusal script and more information, please visit our website at Music & Lyrics by Roger Miller www.tedswindleyproductions.com For booking information contact Joan Kovats (203) 978-0102 [email protected]
A Southern Belle Primer (OR WHY PRINCESS MARGARET COULD NEVER BE A KAPPA KAPPA GAMMA)
Who knows what lurks in the hearts of the women of Dixie? A Southern Belle Primer (or Why Princess Margaret Could Never be a Kappa Kappa Gamma) is the hilarious new play that tells it all! Join three generations (3 characters) of Southern Belles as they divulge how they survive in a society that has not gone with the wind! Being a belle is not a part time job. It is cradle to grave committment. If you like Steel Magnolias or The Help you will just adore A Southern Belle Primer, y’all! Topics include: •Top ten funeral casseroles •Honorary Southern belles •Ten signs of the silver zodiac •Hairdos •The golden rules of being a true •Football Southern belle
For licensing please contact Joan Kovats [email protected] 203.978.0102 For othe exciting shows go to www.tedswindleyproductions.com Info for A Southern Belle Primer is not avaiable on the website at this time. LIKE US ON FACEBOOK www.facebook.com/tedswindleyproductions
September/Octoberr 2014 AACT Spotlight 9 AACTFest Takes a Leap Forward with Presenting Sponsor
AACTFest 2015 stands ready to benefit from national- level changes that will make the local festival experience even better for participating companies, attendees, and host theatres. Perhaps most important, AACT has taken on the role of festival producer, allowing host companies to focus on what they do best—hosting the multi-day event, providing logistical and technical support to participating companies, and ensuring that attendees enjoy themselves thoroughly. important continuity and logistical support, while lessening the administrative burden on presenting companies. AACT’s stewardship of the national festival has led Music Theatre International (MTI) to step up and become the Presenting (Diamond) Sponsor for AACTFest 2015. This is an exciting development, since MTI has long been a supporter of both AACT and its member groups, offering discounts and providing financial assistance for conferences and events. Arts-People as a Gold Sponsor, and Dramatists Play Service as a Bronze Sponsor, have also agreed to provide This shift is the result of years of feedback from host valuable support for AACTFest 2015. Their sponsorships companies who often found themselves faced with a steep will enable AACT to continue to improve the festival in learning curve in dealing with the huge responsibilities many ways, providing even more educational and workshop of producing a national festival. Now, AACT can bring opportunities. its ongoing experience with the festival cycle, providing
10 AACT Spotlight September/October 2014 You will be seeing these companies highlighted as we all within steps of the host hotel. For more, visit www. keep you informed on the latest plans for AACTFest 2015, to experiencegr.com be held in Grand Rapids, Michigan, June 23-28. AACTFest 2015 promises to be a blockbuster event. The Grand Rapids Civic Theatre will be the location for the Register now at aact.org/15 for the early bird discount, and productions, and our host hotel is the Amway Grand Plaza, an ensure you have the hotel accommodations you prefer. ♦
AACTFest 2015 Hotel The official hotel for AACTFest 2015 is the luxurious Amway Grand Plaza located in downtown Grand Rapids a short walk from the Theatre. Enjoy our Grand Rapids Civic Theatre, site of AACTFest 2015 performances special AACTFest rate of $129 for 1-4 in a room. AAA Four Diamond luxury hotel. A five-minute walk between Reserve online at resweb.passkey.com/go/AACT2015 the hotel and theatre takes you past a myriad of restaurants and shops. The city also boasts the Gerald Ford Presidential or call (800) 253-3590 to reserve at the AACTFest rate. Museum, Grand Rapids Art Museum, Children’s Museum, Public Museum, and Urban Institute of Contemporary Arts—
Can A Song Cure Cancer? We Are Certainly Going To Try!
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September/Octoberr 2014 AACT Spotlight 11 Little Theatre of Mechanicsburg Premieres Fifth AACT NewPlayFest Production The fifth production of the inaugural AACT NewPlayFest, Dramatic Publishing representatives, friends and relatives End Papers, by Barry Weinberg of Bethesda, MD opened July come to Mechanicsburg, Pennsylvania, from Illinois, Texas, 24 at Little Theatre of Mechanicsburg (PA). Attending the Ohio, Arkansas, New York, Maryland, and Virginia. They, opening night and gala reception were playwright Weinberg, and all those people I don’t know, fill the theatre night after AACT Executive Director Julie Crawford, AACT Past President night, and are engrossed, entertained, surprised; they laugh, and Jack K. Ayre Theatre Fund representative Linda M. Lee, applaud and, yes, some cheer. Thank you AACT!” and Linda Habjan of Dramatic Publishing. The central character of End Papers, Kathy, must use The next playwright to benefit from exposure via the AACT all her ingenuity and intelligence in order to avoid losing her NewPlayFest, is Bo Wilson of Richmond, VA, whose play, The home and possessions, after her husband’s secret life is Boatwright, opens at Grand Rapids (MI) Civic Theatre on exposed. Convinced that a used bookstore named End Papers September 12. These latest productions join those from previous winners Exit Laughing, by Paul Elliott, which opened at the Springfield (MO) Little Theatre last November, The Seamstress by Linda M. Lee M. Linda Cece Dwyer, which premiered at Hickory (NC) Community Theatre in January, The Vanishing Point by Nedra Roberts, which opened at Sacramento’s California Stage Company in March, and Jellofish by Jim Henry, at Phoenix Stage Company (Naugatuck, CT) in April. Each production reflects AACT’s initiative to address the need for new, high-quality plays for community theatre audiences around the globe. Dramatic Publishing Company will publish the six plays in an anthology this year, with all titles available for production. Enjoying the opening of End Papers at Little Theatre of Mechanicsburg are playwright Barry Weinberg, cast member Charles Smith, Dramatic Publishing's Linda Habjan, and AACT Executive Director Julie Crawford Each producing theatre company of AACT NewPlayFest 2014 received $4000 to aid in producing and marketing these new theatrical can be built into a moneymaking business, Kathy relies on the works. The estate of the late Mr. Jack K. Ayre of Sunnyvale, CA support of her warm and witty friends, and all her wiles to is providing these funds. AACT Past President Linda M. Lee deal with her husband - and unwelcome romantic overtures and her siblings were beneficiaries of Ayre’s estate and made from an old boyfriend - and establish her independence. the decision to help finance productions of winning plays in End Papers is one of three full-length plays by Weinberg, AACT NewPlayFest 2014. ♦ following The Cafe on the Corner and The Main Chance. Weinberg is still somewhat stunned by the events of the last year. “After 12 years of work on End Papers,” he recalls, “revising, workshops, readings, more revisions, readings of the revised versions, then more revisions, AACT tells me End Papers is a finalist in the inaugural AACT NewPlayFest! I sign contracts and wait. Then AACT tells me End Papers has been chosen for production by the Little Theatre of Mechanicsburg, May 2 - 11, 2014 and publication by the Dramatic Publishing Company! I won! I meet Duane Baker, the director, who understands the play the way I do. Later, at the table read-through, I meet the cast, September 12 - 28, 2014 who inhabit the characters perfectly. I attend more rehearsals and the development is going just right. I’m interviewed on The producing theatres, playwrights, titles, and production dates for TV about End Papers and about AACT. Then tech, dress, and the six winning plays in AACT's first AACT NewPlayFest. the excitement of opening night, a world premiere! AACT and
12 AACT Spotlight September/October 2014 AACT Seeks New Plays What playwright wouldn’t want to see their new work AACT NewPlayFest 2016 Producing Theatres showcased in a quality production, then published in a Region City, St Theatre nationally published anthology? That’s what awaits the winners of the AACT NewPlayFest, 2 Silver Spring, MD Silver Spring Stage one of the largest playwriting festivals in the country. Scripts 3 Valparaiso, IN Chicago Street Theatre will be accepted from September 1 to November 1, with the 4 Winston-Salem, NC Twin City Stage winning plays announced next June. 5 Omaha, NE Omaha Community Playhouse 6 Arlington, TX Theatre Arlington 7 Windsor, CO Windsor Community Playhouse 9 Bend, OR 2nd Street Theater
From the creators of Monky Business Scripts must be full-length, non-musical plays, in English, Music and lyrics by GREGG OPELKA that have never received a full production. Submissions will Book by TODD MUELLER and HANK BOLAND only be accepted electronically through the AACT website. (For “A rootin’ tootin’ musical tribute to the films complete submission guidelines go to aact.org/newplayfest.) of Roy Rogers and Gene Autry.” Seven winning plays will be selected from the finalists by —Silverton Standard & the Miner, Silverton, Colo. the producing theatres. (See the list of next year’s producing theatres in the box on this page.) The winning plays will receive fully staged productions between July 2015 and December 2016. The playwright will be paid a royalty by the producing theatre and receive an expense-paid trip to the theatre for a rehearsal or performance. National visibility for the plays will help playwrights find additional productions for their works. Dramatic Publishing Company will publish an anthology of the winning plays and handle rights for the scripts. AACT will provide tools for local promotion and spread the word nationwide. It’s a win-win in more ways than one.
There is no shortage of new works, but few will survive if not discovered, produced, and published. Community theatres know the value of developing new plays; some even conduct new play contests. But many theatres have little time to find a new, quality script, and often don’t have the tools to sell an unknown play to their patrons. AACT NewPlayFest represents a major leap forward in ensuring a healthy future for live theatre across the country.
Reviewers needed. AACT is also seeking people with the time, interest, and theatre expertise to review and score scripts submitted to AACT NewPlayFest. Each script will be adjudicated by at least three reviewers. Those that rise to the top will be read by a second set of reviewers, whose scores will determine the finalists. AACT members are invited to apply to be a reviewer online at aact.org/newplayfest by October 15. ♦ Artwork: Steven Ravenscraft. www.DramaticPublishing.com (800) 448-7469 (815) 338-7170
September/Octoberr 2014 AACT Spotlight 13 Ben Vereen and a company of Venice Theatre performers kick off the opening ceremony at aactWorldFest 2014 A World of Theatre at aactWorldFest 2014 by David Cockerell aactWorldFest 2014 began with a colorful and enlight- ening opening ceremony which included Tony Award-winning “aactWorldFest has reinforced my love and appreciation Ben Vereen leading a company of Venice Theatre performers for both communication and theatre. A group of people in presenting the flags of the 13 nations represented at the can watch the same show and hear the same things, yet the festival, and welcoming the crowd with “There’s No Business messages received will always be different for each person. Like Show Business.” The point of theatre is to communicate an idea or an Vereen, who wowed the audience by singing “Magic To emotion. This festival has made it even more clear to me: as Do” from Pippin, pointed out the amazing achievement of the- long as I’m communicating an idea or emotion, like I saw atre troupes from different countries celebrating creativity at Argentina, Bangladesh, New Zealand and Denmark achieve, Venice Theatre. He implored the governments of the world to I will live a fulfilled life.” take notice that it is “Art that will save us. No arts. No culture. Kim Gaesser’s blog, June 19, 2014 No civilization. Put the arts back in our schools,” he told the cheering crowd. It was an amazing start to an amazing festival. Fourteen theatre companies -- from Argentina, Armenia, Australia, Bangladesh, Canada, China, Denmark, Germany, Italy, Latvia, New Zealand, South Africa, and USA -- presented productions throughout the week.
“From the opening ceremonies it is obvious that this is no ordinary event. Venice Theatre knows how to throw a party, and they’ve assembled an impressive guest list. Countries from around the world are represented by the theatre art they have brought to share, and the actors mingling with the audience makes the experience feel like a family reunion of the very best kind.”
The opening ceremony introduced the flags of the thirteen nations Kelly Wynn Woodland’s blog, June 17, 2014 represented at the festival
14 AACT Spotlight September/October 2014 The festival of productions began with the USA entry, Crowns by Regina Taylor, from Delta Center Stage in Greenville, Mississippi. The energetic and vocally incredible production is set in a Southern church where women wear elaborate hats, and influence the life of a young girl who discovers meaning by following their traditions. “While watching the Mississippi performers in Crowns, I wasn’t in a theatre watching a traditional musical–I was in a Southern church witnessing a triumphant gospel choir.” Jaribu Hill, Renetha Frieson, Wanda Johnson, Indiana Norfleet, Eleashia Jones-Williams, Asia Harden, and Simon Henderson commanded the stage in the USA production of Crowns Tay Tufenkjan’s blog, June 18, 2014
“The Winged seamlessly blends theatre, music, dance, acrobatics, and puppetry to create an experience that is greater than the sum of its parts. The Armenian performers demonstrated a type of magic you can only see on stage.” Tay Tufenkjan’s blog, June 18, 2014
Kerstin Plewa-Brodam and Johannes Brinkmann in Germany’s production of Noah and the Flood Harutyun Avalyan, Davit Sargsyan, Anna Petrosyan, Liana Arestakyan, and Ina Hakhnazaryan created stunning visuals in Armenia’s production Next was a production of Franziska Steiof’s Noah and the of The Winged Flood, performed in German by members of Studio-Buhne Essen in Germany. “Part dance piece, part tribal metaphor, with heavy references to literary works, this is one of the most “It’s a highly comical yet moving twist on what happened fascinating things I’ve seen on stage in a long time.” when Noah got word from God to build an ark. Noah has the Kelly Wynn Woodland’s blog, June 17, 2014 ideas, and his over-burdened wife does all the work. Kerstin Plewa-Brodam as Mrs. Noah is a terrific clown, using broad gestures and movements with specificity. [...] We may not The second day of performances began with The Inn understand every word, but we always catch on. She works of Cross Destinies by Andrea Lattari and Cinzia Grande, wonderfully with Johannes Brinkmann as Noah to build the performed by Maner Manush/Venice Theatre as a co-Italian ark onstage out of some chairs, rope, fabric, and brooms. By and American production. This world premiere of a modern the end, they leave the audience hopeful for a bright future.” commedia dell’arte play was performed by a group of young Jay Handelman, Sarasota Herald Tribune, June 17, 2014 Venice Theatre actors and the two Italians. continued on next page
The finale of the first evening was The Winged from Except for the photo on page 26, Yerevan State Puppet Theatre in Armenia. The original piece all aactWorldFest photos are by was without words and audiences found it visually outstanding. Renee McVety
September/Octoberr 2014 AACT Spotlight 15 “It’s a lively, colorful version of the tale of a father trying to control his money and the romantic lives of his children (with disastrous results). But it’s done in a Bangla style, mixing traditional music and dancing into a story that never stops moving. It’s a high energy production with humorous results.” Jay Handelman, Sarasota Herald Tribune, June 18, Andrea Lattari and Cinzia Grande wrote and 2014 Love endures over money in the Bangladesh production directed the collaborative production from Italy/U.S. of Kanjush (The Miser) Tuesday evening concluded with Our Daily Bread by Mario Marino and Gabriela “The cast picked up the style in less than a Pagés, performed by La Compasiva Teatro of month of rehearsals, capturing the spirit of Argentina. stock comedy and situations that have been passed down for centuries. [...] All the cast “Argentina’s Our Daily Bread was a members made you feel in good hands with beautiful, interpretation of a couple’s lifelong the style as they shared the stage with Lattari relationship, starting from their first meeting and Grande, who are a delight to watch and to old age. The performers never spoke aloud, proved they’re good teachers, as well.” yet were completely understood through Jay Handelman, Sarasota Herald Tribune, their use of music, light and projections, June 18, 2014 and their bodily affect display and emblems. Their bread dough, along with Her flour and His water, was cleverly used to symbolize Next was Kanjush (The Miser) by Molière. several central things in the relationship, like This colorful version was adapted by Tariq sex, pregnancy and a baby.” Anam Khan from Loko Natyadal Bangladesh in Mario Marino and Gabriela Pagés Kim Gaesser’s blog, June 19, 2014 in Argentina’s production of Our Bangladesh. Daily Bread
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16 AACT Spotlight September/October 2014 Wednesday’s productions continued to be varied in style, starting with Babel Rap from Theatre Ensemble in Canada, about two men building their way to heaven--a modern twist on the story of the Tower of Babel.
“Balance is an issue in Babel Rap, in which we see a Laurel and Hardy-style pair of bumbling construction workers, with more than hammers and nails on their minds. The work leads to some intriguing discussions about faith and God, conjuring thoughts of Waiting for Godot.” Jay Handelman, Sarasota Herald Tribune, June 19, 2014
Jeff Bastien and John Nabben work on the Tower of Babel in Canada’s production of Babel Rap New Zealand improv troupe Improsaurus was full of energy, working together to create a show using input from a very responsive audience.
“The ridiculous was courtesy of the New Zealand improve troupe, Improsaurus, a fun-spirited quintet of performers who created a funny story about a drug-selling family with Chekhovian-influences dealing with wild sheep and a zombie apocalypse.” Jay Handelman, Sarasota Herald Tribune, June 19, 2014
Tim Mooney took to the stage in his production of Shakespeare’s Histories Shakespeare’s Histories by Tim Mooney, was performed by Mooney as a stand-in for a production from Togo, which faced visa issues that kept the troupe at home.
“Mooney’s Shakespeare’s Histories recounts about 500 years of English history that serve as the backdrop to 10 of William Shakespeare’s plays. And it’s all done in an hour. It’s performed at what he calls a ‘breakneck pace,’ but is almost too rapid fire to fully grasp it.” Jerome Cousins, Trubie-Dylan Smith, Alex Wilson, Dianne Pulham, and Malcolm Jay Handelman, Sarasota Herald Tribune, June 19, 2014 Morrison from New Zealand created unique stories through improv for each performance continued on next page The 2014-15 season has arrived!
Visit us for new plays and musicals! heuerpub com
September/Octoberr 2014 AACT Spotlight 17 aactWorldFest continued from previous page POP! from Denmark’s Black Box Pangea was often mesmerizing with its striking visuals utilizing multi-media, as well as creative interpretations of many current popular songs.
“An out-of-the-ordinary show performed by two people who simply took popular songs off of America’s radio and articulated them in different contexts. This forced the audience to reanalyze the lyrics that are known so well. It made the audience see the depth behind the words and how the same words can mean so many different things. Their show didn’t have a clear line of action or storyline, so it was totally up to the audience to come up with their own interpretation. Yes, this show took me on a journey, and it also took all the other audience members on a separate journey, different and unique for each person.” Kim Gaesser’s blog, June 19, 2014
Emile Bendix and Rasmus Rhode utilized inventive images in Denmark’s production of POP The day concluded with It’s a Country Thang, Y’all! performed by The Silver Foxes from hometown Venice, FL.
“Venice’s Silver Foxes is one of the most popular performing troupes in the area. The Foxes sang, they danced and they made us laugh. And with a soaring performance of Blow Gabriel Blow, they brought us to our feet.” Maureen’s blog, June 20, 2014 The men of Venice Theatre’s Silver Foxes entertained all the single ladies in It’s a County Thang, Y’all!
18 AACT Spotlight September/October 2014 The diversity of production styles continued on Friday, beginning with Poetry Butterfly from Drawing Theatre in Latvia where stories are told through dance and a fascinating array of disappearing/reappearing watercolor images.
“In Poetry Butterfly [...], dancer Elîna Gaitjukeviča brings a giant storybook to life on stage, floating like a paper butterfly that emerges from its pages. She takes us inside with a magical paintbrush to create cars, boats, rain and flowers that are part of her story. Accompanied by creative musician Rihards Zaļupe, the Elîna Gaitjukeviča and Rihards Zaļupe created magic with Latvia’s production of piece celebrates the joy of reading and the Poetry Butterfly imagination.” Jay Handelman, Sarasota Herald Tribune, June 21, 2014
Next was The Century of Music, by Ronald Krine Myroup, performed by The Loveland Players from Venice, Florida. This inspirational production told the story of four generations of American family. Venice Theatre has partnered with the Loveland Center for 19 years, teaching life skills to adults with developmental disabilities through theatre study.
Tina Valenca was amazing as she led the cast of The Century of Music from The Loveland Players
“The joy and healing nature of the performing arts is evident in the loving production of the Loveland Follies, which Venice Theatre creates each year with the developmentally disabled adults at the Loveland Center. They sing, dance and tell jokes in tracking 100 years of American music, from the wave of immigrants in the early 20th century through today’s pop hits. It’s a joy to watch people embracing a love of theater and the cheers that come from the audience.” Jay Handelman, Sarasota Herald Tribune, June 21, 2014
continued on page 24
September/Octoberr 2014 AACT Spotlight 19 Designing the Perfect Season by Lynn Nelson ow many times have I let this very headline excite me and then the article has let me down? Or attended a workshop Habout designing a season and left without all the answers? I’ll tell you – too many times to count. I have learned that the perfect season consists of a “balanced set of productions that appeal to current patrons and attract new ones.” What does that even mean? Is a perfect sold-out season even an attainable goal in community theatre? After serving on my home the- atre’s season selection committee for more than 20 years, I am going to say YES! A qualified yes, but a definite, resounding yes. But here’s the catch. A pretty big one, in fact. That perfect season is a moving target – it’s never going to be the same for different theatres or different points in time. There are way too many variables. So what can we do? I have interviewed a panel of “experts” from successful community theatres of varying sizes and from diverse places (see chart). Their words of wisdom may guide us and our theatres toward that bull’s eye. Choose the advice that fits your theatre and can be implemented. Im- prove the next season. Learn and network more and improve even more in the next season. None of us may ever completely sell out a season, but we sure can improve!
The “panel” includes: Name Theatre Location Size & Season Main stage - 380 seats/ 8 musicals a Rick Kerby Manatee Players Bradenton, FL season @ 16 performances; additional black box with 100 seats Main stage – 220 seats/ 5 varied Nancy Eppert Powerhouse Theatre Independence, MO shows a season @ 6 performances
Tupelo Community Main stage – 480 seats/ 5 varied Tom Booth Tupelo, MS shows a season @ 4 performances; Theatre additional black box with 75 seats Main stage – 254 seats/ 7 Chris Serface Tacoma Little Theatre Tacoma, WA varied shows a season @ 9 or 12 performances
Q - What does balance mean to you? pool, potential to attract new patrons, fiscal attractiveness, and audience appeal. • For Chris Serface, balance is “a blend of classic, comedy, drama, period, musical, edgy.” However, he cautions that • Rick Kerby has to decide if they can “properly meet the edgy should challenge your patrons but not alienate them. technical requirements within budget limits. Can I find directors, actors, costume designers, etc., who can meet • Tom Booth adds that Tupelo has to find that balance this show’s needs without overtaxing our limited staffing?” between family-friendly shows and shows with more difficult or mature language and themes, especially for its main • Tom looks for shows that will “appeal to our theatre’s stage season. “Our patrons have started asking for a ‘rating’ actors and volunteers, as well as to our audiences. And system so that they can decide if a production is suitable for that’s not always easy when our patrons ask for big, well- their children to see.” known musicals, but our musicians and actors have done all the classics and want newer challenges.” • Nancy Eppert’s theatre defines balance with a formula when considering shows for their season – “we present a musical (alternating years between family-friendly and adult- Q – What resources do you use? themed), two comedies, a drama, and a mystery.” • Rick researches what is newly available, using publisher’s catalogs and websites, as well as attending theatre festivals. Q – What are some of the considerations you use His theatre has successfully marketed presenting the to help select the season? “Florida premiere” of a new musical. And he finds that the newer material can help attract new and younger audience • Nancy’s theatre looks at several items: current/past talent members.
20 AACT Spotlight September/October 2014 • Tupelo consults the AACT website with its list of most- • And before Rick presents his suggested season to his performed productions and ratings from some of the patrons, he always verifies licensing approval from the theatres producing them. Tom says, “knowing what was publisher for the projected production dates. “It is difficult to successful (or not) in a similar demographic is very helpful, present and market a season and find that you cannot get although not always an accurate predictor of success for rights to a show. No matter how good the substitution is, it us.” hurts attendance.” • Nancy Eppert polls their patrons to ask what they would like to see and places some of their recommendations on So there you have it, expert advice from some of the the slate for their selection committee to read and consider. most successful artistic directors, executive managers, and volunteers in the community theatre universe. Take what fits • Several on the panel mentioned that they keep in mind for your organization and use it well. Break a leg, my friends! ♦ good shows that were in consideration for previous seasons but weren’t selected. What might not have been a good fit with My Fair Lady could very well be a good balance to Man of LaMancha.
Q – What else do you think would help our readers choose the perfect season? • Nancy sometimes works with a theatre in the Kansas City area that chooses a season by soliciting ideas from potential directors. The directors may only submit a certain number of suggestions within a defined framework of genres (small musical, light comedy, etc.). • Tom has found that having a new black box theatre available presents both challenges and opportunities to his organization. “TCT can focus on retaining and attracting new patrons with the main stage season. However, the black box affords us the freedom to present smaller, edgier pieces that we’ve wanted to try for a long time but didn’t have the • replacement lamps resources to do in the past.” • rosco, lee, Gam, and • Chris loves to market his seasons in Tacoma with the apollo Gel motto “giving you the theatre you want to see and the theatre you didn’t know you wanted to see.” Training patrons to trust • Gobos you enough to attend a show they’re not familiar with is vital • tieline & cordaGe to a theatre’s growth. • staGe hardware • scenic paints & coatinGs • Gaffers & spike tape • batteries • staGe cables & adapters • staGe liGhtinG fixtures • professional serVice!
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September/Octoberr 2014 AACT Spotlight 21 MTI Extends AACT Member Discount
Music Theatre International (MTI) has announced that it 2. All eligible participants must join the AACT group at will continue its AACT Member Discount to September 2017. MTISHOWSPACE.com to be eligible for the discount. “The three-year extension is in response to the 3. A member organization must work directly with their MTI overwhelming popularity of the program, and signifies MTI’s agent to receive the discount. ongoing commitment to American Community Theatre,” said 4. The discount will apply to any MTI show produced MTI Senior Operations Manager John Prignano. between September 1 and August 31 of the given AACT The program has returned more than a half-million dollars membership year. to AACT member theatres since its inception five years ago. 5. The agreement is retroactive for productions that have The program works like this: occurred during the period of the agreement (that is, occurring earlier than the date of application, but during that ● For the first four MTI musicals produced during the membership year, an AACT member theatre will receive a same membership year). If a member theatre has already 20% discount on standard rental fees. paid rental fees for the period covered by the agreement, the cost difference will be refunded. (Requests for discounts for ● If a theatre produces five MTI musicals in the year, the productions in prior member years cannot be honored.) fifth standard rental package is free. 6. Organizations applying for the discount must indicate on The following stipulations apply: their paperwork if they are requesting it again, even if they have received the discount for a prior show. 1. To participate in the discount program, a theatre must be a current, paid AACT member for the year in which the 7. Rental discount applies to standard rental fees only. ♦ production occurs. For more information, visit aact.org/mti
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22 AACT Spotlight September/October 2014 Classics on Stage Dramatic Publishing 25% off children’s theatre scripts and plays with production Offers New Discount order. Dramatic Publishing AACT member theatres can save a few dollars per order One free script for every five purchased on a license. from Dramatic Publishing Company. Beginning this membership year, the Woodstock, IL Heuer Publishing publishing company will offer one free script for every five 10% off scripts and royalty fees for all of the plays included purchased on a license. That is effectively a 20% discount per in the Laugh More: 10 Great Comedies! promotion. every five scripts. According to Linda Habjan, Dramatic Publishing’s Music Theatre International Acquisitions Editor, the discount begins right away and will 20% discount on standard rental fees; fifth standard rental involve a simple procedure to implement. AACT member package is free. theatres will provide a code with each script order when the license is approved, and Dramatic Publishing will automatically Steele Spring Stage Rights apply the discount. Buy one, get one free perusals discount on all Roger Bean AACT provides the discount code to member theatres as musicals. they sign up or renew membership. ♦ Theatrical Rights Worldwide 50% discount the Perusals NOW Store and performance licenses. Season Selection Discounts
Several licensing houses and other theatrical resource Production Equipment and Products: companies offer discounts to AACT member theatres, which zfx flying effects could be useful in planning your next theatre season. Current Receive special discounts with Peter Pan or Wizard of Oz offerings include: packages. ♦ Scripts and Royalties: Buddy Worldwide 10% off royalties for Buddy - The Buddy Holly Story. Visit aact.org/discounts for more information.
September/Octoberr 2014 AACT Spotlight 23 aactWorldFest continued from page 19 Closing out the performance part of the festival was The Mouse’s Daughter’s Wedding from China’s Henan Qu Australia’s Lieder Theater Company presented The Servant Opera Troupe. Performed in Mandarin, audiences praised its of Two Masters by Carlo Goldoni, a marriage of razor sharp spectacular combination of opera, comedy, dance, and color. pacing, grotesque physicality, spot-on improv, and sublime dedication to the ridiculous. “ [...] about Zhu Zhu, [a] young mouse in love and her mother who wants only the best financial deal, which may be a seductive but sinister cat who offers jewels and cash. There are spirited dance battles against the cat, black clouds, wind and a wall. It’s a comical tale told by singing actors and dancers who emulate the sounds of mice and cats in their voices and movements. We may not understand the lyrics, but the story is clear. The costumes and performances providing a colorful explosion of style.” Jay Handelman, Sarasota Herald Tribune, June 21, 2014
Hijinks were plentiful in Australia’s production of The Servant of Two Masters
“In an art form that relies on physicality to sell stock characters, these actors embraced the silly and the divine and that’s all I’ve ever wanted to do myself. I wanted to jump on stage and join in the fun. In fact, in a way I did. Well, me and the rest of audience. During a particularly elaborate lie that turned into a retelling of Goldilocks, our eponymous servant, Truffalindo, enlisted the audience to help tell his tale.” Jeremy’s blog June 21, 2014
Lucky, The Hero! by Vicky Davis, was performed by actors from the Africa Centre for HIV and AIDS Management Educational Theatre Company at Stellenbosch University in South Africa. An educational piece with a mission, its purpose Lui Yan Li as Zhu Zhu, the mouse, encountered Chang Xiang Ke as the is to raise awareness and provide information about prevention Wind in China's production of The Mouse's Daughter's Wedding of HIV/AIDS.
“HIV/AIDS is a serious health issue that doesn’t stop being important because we’ve had some recent success in controlling it. That being said, just because something is important and serious doesn’t mean you can’t have fun. And damn, do these guys have fun. It’s a bold choice to present information on preventing HIV infection in a light-hearted, easily accessible and effective way.” Jeremy’s blog June 21, 2014 Ricardo De Ruiter as Lucky teaches lessons about life in South Africa’s production of Lucky, The Hero!
24 AACT Spotlight September/October 2014 Adjudicators for aactWorldFest 2014 were Benny Sato Ambush, Thomas Hauger, and Kathy Pingel. They provided valuable commentary at the end of each performance, many times through translators. It was rewarding and educational to witness the comments and evaluations these adjudicators offered the participating productions.
And yes, there were workshops--everything from Ben Vereen’s master class to improvisation techniques, to basics of trapeze. The educational opportunities were abundant.
Improvisation workshop
Techniques of Commedia dell’Arte Ben Vereen master class in musical theatre continued on next page
September/Octoberr 2014 AACT Spotlight 25 aactWorldFest continued from previous page aactWorldFest 2014 would not have been the same AACT would also like to thank President Jean Trammell and without the tireless efforts of Venice Theatre Executive/Artistic the Venice Theatre Board of Directors, Technical Director John Director Murray Chase, Festival Coordinator Lori Chase, and Andzulis, Lighting Designer Ryan Mueller, Sound/Projections Assistant Coordinator Kristofer Geddie. They were always Dorian Boyd, Laurie Colton, Kim Kollar, Paul Bekkenhius, and present, and had an answer to every question (even if it the many, many incredible volunteers at Venice Theatre—all required a translator). AACT is grateful for their dedication to who made aactWorldFest 2014 a success. making aactWorldFest 2014 such an incredible experience. Simon O. Jr Henderson
Murray Chase, Lori Chase, and Kristofer Geddie were the exceptional leaders of aaactWorlFest 2014
But that’s not all! To read full blogs and reviews of aactWorldFest 2014, go to venicestage.com/international As an indication of that success, at the end of the festival it was announced that AACT’s Board of Directors has invited Jay Handelman is the theatre and television critic for the Venice Theatre to host aactWorldFest in 2018. Sarasota Herald-Tribune. He is President of the Foundation of the American Theatre Critics Association. See you in four years! ♦ Kim Gaesser is the Venice Theatre summer marketing intern. Jeremy Heideman is an actor at Venice Theatre and “Imagine the highest high you’ve ever felt when participates in the Sarasota Medieval Fair. onstage, or with a good design, or as a director – Maureen Holland is the secretary of the Venice Theatre Guild. whichever realm of theatre excites you most. The teeming buzz of palpable electricity of the best Tay Tufenkgian is the Venice Theatre Assistant Box Office performance, when you expect literal sparks to Manager. fly from your fingertips at the lightest touch . . Corinne Woodland is an actor, helps run summer theatre . now imagine that for an entire week. THAT’S camp at Manatee Performing Arts Center, and teaches in the aactWorldFest.” Manatee County School Distirct. Corinne’s blog, June 23, 2014 Kelly Wynn Woodland is a director and actor at Venice Theatre and a teacher in the Manatee County School District.
26 AACT Spotlight September/October 2014 aactWorldFest Awards aactWorldFest 2014 concluded with an awards ceremony Outstanding Visual Impact that celebrated each company’s incredible strengths. The Winged Yerevan State Puppet Theatre – Armenia Outstanding Featured Actress “We watch each performance, learning a little about Kaitlyn Terpstra The Inn of Crossed Destinies – Maner our differences (who knew The Miser was so popular in Manush/Venice Theatre – Italy/USA, Forida Bangladesh?!) but mostly about how much we are All. The. Tina Valenca The Century of Music – Loveland Center/ Same. Our humanity and our energy and our magic are Venice Theatre – USA, Florida linked, all across the globe, and it is powerful. To paraphrase Trubie-Dylan Smith from New Zealand in the closing Outstanding Staging ceremonies, at aactWorldFest we find our families that we The Inn of Crossed Destinies Maner Manush/Venice Theatre always had, but just hadn’t met yet.” Italy/USA, Florida The Mouse’s Daughter’s Wedding Henan Qu Opera Troupe Corinne’s blog, June 23,2014 China Outstanding Innovation through Technology Outstanding Ensemble Our Daily Bread La Campaiva Teatro – Argentina The Century of Music The Loveland Players – Loveland POP! Black Box Pangea – Denmark Center/Venice Theatre – USA, Florida Lucky, the Hero! Africa Centre for HIV & AIDS Management Outstanding Actor Educational Theatre Co. – South Africa Mario Marino Our Daily Bread – La Campaiva Teatro Outstanding Comedian Argentina Rubel Shankar Kanjush (The Miser) – Loko Natyadal Josh Waters The Servant of Two Masters – Lieder Theatre Bangladesh – Bangladesh Company – Australia John Nabben Babel Rap – Theatre Ensemble – Canada Outstanding Actress Trubie-Dylan Smith Imposaurus – New Zealand Gabriela Pages Our Daily Bread – La Campaiva Teatro Outstanding Soundscape Argentina The Winged Yerevan State Puppet Theatre – Armenia Kerstin Plewa-Brodam Noah and the Flood – Studio-Buhne Essen – Germany Outstanding Vocal Ensemble Crowns Delta Center Stage - USA, Mississippi Outstanding Theatre for Social Change Lucky, the Hero! Africa Centre for HIV & AIDS Management Outstanding Individual Vocal Performance Educational Theatre Co. – South Africa Emilie Bendix & Rasmus Rhode POP! – Black Box Pangea Denmark Outstanding Performance Art POP! Black Box Pangea – Denmark Outstanding Costumes Poetry Butterfly Drawing Theatre – Latvia Kanjush (The Miser) Loko Natyadal Bangladesh – Bangladesh Outstanding Directoral Vision The Servant of Two Masters Lieder Theatre Company Alfredo Badalamenti Our Daily Bread – La Campaiva Teatro Australia Argentina The Mouse’s Daughter’s Wedding Henan Qu Opera Troupe Varis Klausitajs Poetry Butterfly – Drawing Theatre – Latvia China Outstanding Production Outstanding Make-up The Winged Yerevan State Puppet Theatre – Armenia The Mouse’s Daughter’s Wedding Henan Qu Opera Troupe Noah and the Flood Studio-Buhne Essen – Germany China Outstanding Accompanist Adjudication Awards for Theatrical Excellence Oliver Johnson Crowns – Delta Center Stage -- USA, Mississippi Excellence in Puppet Craft and Performance Rihards Zalupe Poetry Butterfly – Drawing Theatre – Latvia The Winged – Yerevan State Puppet Theatre – Armenia Outstanding Choreography & Dance Excellence in Master Teaching Elina Gaitjukevica Poetry Butterfly – Drawing Theatre Andrea Lattari & Cinzia Grande The Inn of Crossed Destinies Latvia - Maner Manush/Venice Theatre – Italy/USA, Forida Outstanding Music Composition Excellence in Overall Performance Rihards Zalupe Poetry Butterfly – Drawing Theatre – Latvia Our Daily Bread – La Campaiva Teatro – Argentina
September/Octoberr 2014 AACT Spotlight 27 Welcome the Newest Member of AACT Tony Award-winning star Ben Vereen said at the opening ceremony of aactWorldFest 2014, “Where else but in Venice can the world get together for the arts? This is happening - I want to see this.” Have you renewed your membership Renee McVety for 2014-15?
Now is the time to renew and enjoy the many benefits of your AACT membership!
If only one of them had just stayed home... APPEARANCES to the Ben Vereen networking with AACT members at aactWorldFest 2014 CONTRARY Mr. Vereen was scheduled to open the festival and present a Master Class in Musical Theatre, but he decided to stay for the entire week. He was present at every performance, every adjudication, the social evening at Sharkeys, and the afterglow parties (ever present, playing his wooden flute). This talented artist took the opportunity to experience by Jim Inman all that is aactWorlFest. In this dark, urban comedy about the cruel ambi- giuties of Love and Sex, seismic sexual energies At the end of the festival, AACT President Gary crack the professional and personal veneers of Walker presented Mr. Vereen with an AACT Lifetime two couples, uniting them in a confrontation of Membership. Welcome to AACT! ♦ exposed secrets, shattered egos, and eventual redemption ... for three of them... “A Latter Day Who’s Afraid of Virginia Woolf?” L. A. Times, Variety, Hollywood Reporter To read the play (w/o the end) and for Performance Rights, please contact Heartland Plays, Inc. at [email protected] 28 AACT Spotlight September/October 2014 aita/iata Meets During aactWorldFest in Venice, FL by Anne Gilmour, aita/iata Secretariat
The International Amateur Theatre Association (aita/ iata) held its 2014 summer meeting during aactWorldFest 2014 in Venice, Florida. The aita/iata Council, made up of the Executive Board and Regional Representatives, were pleased to accept the generous invitation made through NARA Representative and AACT member Kathleen Maldonado to hold the meeting at Venice Theatre, which was hosting a wide range of international productions and many, varied workshops at aactWorldFest 2014.
Members of Venice Theatre Members of Venice Theatre generously and warmly hosted generously and warmly hosted the the aita/iata Council and the Secretary, providing an excellent aita/iata Council and the Secretary, opportunity for Council members to learn more about the host venue, and to meet the volunteers who are such an essential providing an excellent opportunity part of the success of Venice Theatre. Particular thanks go to for Council members to learn more Lori Chase, who ensured that Council members had all they needed for their meetings, not to mention her service as the about the host venue. overall organizer of aactWorldFest 2014.
Audiences - including aita/iata members - warmly received The aita/iata Council discussed in great depth a proposal the wide range of international productions participating at made by an internal Working Group, which had been tasked to aactWorldFest 2014. Those who stayed for the post-show review the structure and future direction of aita/iata. Regional adjudications were treated to insightful, thoughtful and Representatives made valuable contributions to the Working illuminating discussion about the productions, which became Group’s proposals, which are now being disseminated more popular as the festival progressed. through the Regional structure for discussion and debate. The aita/iata thanks all connected with Venice Theatre who Council will discuss all the feedback it receives at a meeting helped bring the wonder and excitement of international in November in Peligros, Granada, Spain, before the ideas are theatre to Venice, Florida, and made the week of the put to the membership at the next General Assembly in Ypres, aactWorldFest 2014 such a success. ♦ Flanders, Belgium, in July 2015.
September/Octoberr 2014 AACT Spotlight 29 Spotlight Award Honors Sheila Bourque The AACT Spotlight Award partners Sheila’s most notable contributions to the AACT with theatres to recognize individuals organization have come through her commitment and organizations for long or special service to leadership on Kirk Players’ Board of Directors. that has had a significant impact on the She currently serves as Board President and quality of their local theatres. Any AACT Administrative Director. Sheila has tirelessly member theatre may apply to present the worked to continually prepare and submit Spotlight Award. applications for state and national grants, and corporate sponsorships. Her efforts have been “Sheila Bourque is the soul of the Kirk rewarded with organizational grants from Target Players,” states Sheila’s Spotlight Award Stores, Illinois Arts Council, and gifts from local nomination. Ms. Bourque was honored for businesses. her long time service to the Kirk Players on At the Spotlight Award announcement th June 14 . Kirk Players Artistic Director, Paddy Kirk Players in Mundelein, IL Paddy remarked, “Kirk Players, a 48 year 'young' Lynn, announced the confirmation of the presented Sheila Bourque organization, thrives because of Sheila Bourque’s Spotlight Award for Sheila prior to the curtain the AACT Spotlight Award on leadership and passion for community service of Kirk Players’ final show of its 48th season, June 14. through excellence in theatre!” ♦ 37 Postcards. Sheila was not able to attend the event. Sheila joined Kirk Players in 1990, and quickly became immersed in theatre. Throughout the years, she has demonstrated an unwavering dedication to children. Sheila stage-managed 18 children’s shows, with casts and crews including over 60 children, teens, and adults. Her technical ingenuity contributes to brilliant set designs and efficient set changes, for four productions annually. Artie's Advocacy Tip
The company you keep. The credibility and reputation of those involved with your organization all too often determine how the public perceives you and your mission.
30 AACT Spotlight September/October 2014 New Roles Baton Rouge, LA -- Jenny Ballard has been named effective June 2014. Eddie’s position encompasses the Managing Artistic Director at Theatre Baton Rouge. Jenny Managing Director position, formerly held by Bill Hammack began her theatre career in 2003 as Education Director and the Artistic Director position, most recently held by and interim Managing Director of The Actors Co-op in Rick Snyder. Eddie has been the Managing Director at the Knoxville, Tennessee, and soon after became the Education award-winning 16th Street Theatre in Berwyn, IL for the past Director and interim Artistic Director for the Tennessee two years, where he led marketing and fundraising efforts. Stage Company. In 2007, Ballard co-founded the Knoxville Prior to that, he worked in the marketing department at the Children’s Theatre and served as its Artistic Director. She Tony Award-winning Chicago Shakespeare Theater. Eddie came to Baton Rouge to study at Louisiana State University, co-wrote the musical Meet John Doe, which enjoyed its where she earned her MFA in Theatre. She began her new world premiere at the Ford’s Theatre in Washington D.C., duties in July 2014. won 2 Helen Hayes Awards, and is licensed by the Rodgers and Hammerstein Organization. He also was a stuntman for Waterloo, IA –- The Waterloo Community Playhouse/ two years in the original production of the musical Ragtime. Blackhawk Children’s Theatre Board of Directors is pleased Eddie holds a MS in Arts Administration from Drexel University to announce the appointment of Matthew R. Kerns as its and a BFA in Musical Theatre from University of Michigan. ♦ new Artistic Director. Matthew replaces long-time Artistic Director Chuck Stilwill, who retires in September. Matthew originates from the Midwest and has been working most recently as Education Director for Theatre Cedar Rapids in www.spaciousacting.com Iowa. He holds an MFA in Contemporary Performance from Naropa University in Boulder, CO and a BFA from Eastern Free online acting technique resource New Mexico University. Matthew’s academic career includes Acting beats: Why they matter serving as Chair of Theatre Department at the Chicago Academy for the Arts, Communications Faculty at Loyola Playing verbs, not adjectives University Chicago, and as Director of Theatre at Sonoma Time and motion: An actor’s Academy in Santa Rosa, California. In 2006, Matthew was most powerful tools a recipient of the John F. Kennedy Center for the Performing Script analysis: Connecting the Arts Creative Ticket Award celebrating arts and academic dots excellence. Matthew joined the Waterloo Community The myths of acting dispelled Playhouse staff in August and will take the reigns as Artistic Also available: Weekend acting seminars at your Director in mid-September. theater that give even beginners true experiences of Western Springs, IL -- The Board of Directors of Theatre of “staying in the moment," “listening and reacting," Western Springs announces the appointment of Eddie and what accessing your emotional life feels like! Sugarman to the new position of Executive Artistic Director,
September/Octoberr 2014 AACT Spotlight 31 Chu Confirmed as NEA Chair
Dr. Jane Chu has been confirmed City Community Foundation. She holds by U.S. Senate as Chair of the National degrees in visual arts, piano performance Endowment for the Arts [NEA]. and piano pedagogy, an MBA, and a Ph.D. “The confirmation of Dr. Jane Chu in philanthropic studies. Nonprofit Con- is great news for not only the National nect in Kansas City recently named her Endowment for the Arts, but also for the their Nonprofit Professional of the Year. arts in our country,” said Robert Lynch, Since 1965, the NEA has awarded president and CEO of Americans for the over $5 billion in grants across all 50 Arts. “Dr. Chu brings an insightful com- states via local, state, and federal part- bination of expertise to the position— nerships. Each grant dollar on average is experience in arts education, business matched by $9 of additional investments. administration, and philanthropy. She As such, the NEA stands as the largest also understands the value of art at the annual national supporter of the non- community level and how the arts are profit arts in the United States, “increas- transformative to individuals as well as ing public access to and engagement with places.” the arts, strengthening American com- munities, and helping foster a diverse, Chu comes to the NEA from the innovative, productive, and motivated Kauffman Center for the Performing Dr. Jane Chu 21st-century workforce,” according to an Arts in Kansas City, Mo. Which she NEA spokesperson. All together, the NEA joined as CEO in 2006. She has served as fund executive says, the nonprofit arts industry and its audiences represent at the Kauffman Fund for Kansas City, vice president of ex- a $135 billion industry, employing 4.1 million Americans. ♦ ternal relations for the Union Station Kansas City, and vice president of community investment for the Greater Kansas Photo by Strauss Peyton Studios
Mario Fratti-Fred Newman Political Play Contest Drury University One-Act Playwriting Competition Castillo Theatre 543 West 42nd Street Drury University One-Act Playwriting Competition New York, NY 10036 c/o Mick Sokol, Associate Professor of Theatre Attn: Fratti-Newman Political Play Contest 900 North Benton Avenue Springfield, MO 65802 This bi-annual contest is intended to encourage the writing of scripts for the stage that engage the political/social/cultural ques- Open to all playwrights. Scripts are to be original, unpublished New Play Contests Play New tions affecting the world today and/or historical events and issues and unproduced. Staged reading or workshop productions will not that impact on our heritage. disqualify a script. Musicals, monologues, children's plays, adapta- tions, film scripts and television scripts are ineligible. Preference The plays submitted to the Fratti-Newman Political Play Contest will be given to small cast, one-set shows with running times of no may be written in any style, set in any historical time, geographic or less than 20 minutes and no more than 45 minutes. imaginary location, contain any number of characters and be of any length. The plays must be in English and cannot be musicals or ad- First prize: $300 aptations. No scripts will be considered that have previously been Honorable mention: $150 submitted to this contest, have received a production or won other contests. Only one script per playwright per year will be accepted. Deadline: December 1, 2014 (postmark)
The winning script(s) will receive a reading at the Castillo Theatre Hard copy submisson only. in New York City during the theatre’s 2015 summer season. Details: drury.edu/du/theatre/One-Act-Playwriting-Competition/ Hard copy submission only.
Deadline: October 1, 2014 (postmark)
Details: castillo.org/playwriting-contest/
32 AACT Spotlight September/October 2014 Networking Helps Networking
What are you most proud of that your Annapolis Summer Garden Theatre is on the "Road to the 50th" preparing to celebrate our 50th anniversary in theatre did this summer? 2016. We've launched a 50th Anniversary Committee and organized a Play Reading Committee to choose plays for Responses on Facebook the anniversary season that are exciting and challenging (www.facebook.com/AACT.org) for audiences and artists. Big plans are now in the works. Union Community Theatre in Union KY participated in our ASGT is an outdoor summer theatre presenting musicals in first regional OCTAfest with the show Tommy. We had 75% a historic building, which we own and maintain ourselves. newbies in the cast who had never participated so it was That’s pretty significant, considering we’re an all-volunteer very exciting to bring our company into the spotlight in our theatre with no Executive Director (or any paid staff, for that first AACT year. matter)! We’re proud to have been in continuous operation Lindsey Morgan Huffaker for almost 50 years. Union Community Theatre, Union, KY Annapolis Summer Garden Theatre www.unionct.net Annapolis, MA www.summergarden.com Having applied for the production rights to Les Miserables the very day they became available for amateur theatres, Performing in The Dixie Swim Club with four very talented we opened this amazing show on July 11. Over a hundred women, director and stage managed by my husband. There people auditioned, some from hours away. It was very were no divas and everybody was like old friends even exciting to have this show come to life at Engle Lane Theatre though we put it up in less than 15 rehearsals including tech in Streator, IL just four years after a tornado badly damaged at The Barnstormers. It only shows what teamwork really our theatre. What a comeback! means. Kathy Missel Marsha L. Amato-Greenspan Engle Lane Theatre, Streator, IL The Barnstormers Theater, Ridley Park, PA www.englelane.org www.barnstormerstheater.com
Spamalot at Ross Summer Theater in Merrillville, IN. Conducting the first annual Theater Camp at the Boys & Girls marks the 50th year of this amazing, professional quality Club of Booneville, MS. Conceived, written and performed community theater. The theater’s founder, Jerauld Reinhart, by members of the Boys & Girls Club, the themes of the passed away this year, and this show, one of his absolute original production, Owning, include: Conflict Resolution, favorites, was a tribute to his incredible legacy. Goal Setting, Decision Making, Personal Responsibility and Timothy Slatton "Owning" Your Choices. Ross Summer Theatre, Merrilville, IN Gene Papke www.m-mproductions.com Boys & Girls Club, Booneville, MS www.facebook.com/pages/Boys-Girls-Club-of-Booneville The Lindale Community Theater in Lindale, TX finished the renovation of a 100+ year old building using private funds, donations and hundreds of hours of volunteer labor in time for the most ambitious project of our very young five year history, The Drowsy Chaperone. We love to act...and it shows! Tim Mitchiner Lindale Community Theatre, Lindale, TX www.lindalecommunitytheatre.org
Hilo Community Players in Hilo, Hawaii, presented our 37th Annual Shakespeare in the Park and our Inaugural Kid Shakes. Antony and Cleopatra was performed with only six actors portraying all the roles with minimal costumes on an almost bare platform. The performances were some of the best I’ve ever seen. Our Inaugural Kid Shakes used the hilarious script This is Hamlet to introduce Shakespeare to audiences of all ages and to educate a new generation of actors. Hilo Community Players Hilo, HI www.hilocommunityplayers.org
September/Octoberr 2014 AACT Spotlight 33 Ron Ziegler Jill Patchin AACT on the Road
AACT Conference Coordinator Jill Patchin discusses hotel layout with Past President Bill Muchow during a site visit on May 29, 2014 in Rochester, MN. The pair were seeking information for the 2017 AACTFest. Ron Ziegler AACT Field Services Director Ron Ziegler chats with Paramount Arts Center Artistic Director Melanie Cornelison and Executive Director Bruce Marquis in front of the theatre in Ashland, KY on May 30, 2014. Ron was in Ashland on a site visit seeking a location for AACTFest 2017. Kathy Pingel
AACT Festival Commissioner Kristi Quinn waits for the beginning of a performance session at the Eastern Massachusetts Association of Community Theatre Festival, June 27-29, 2014 in Tewksbury, MA. Behind Kristi is AACT Region I Representative Bevie Lord. Ron Ziegler AACT Vice President for Festivals Kay Armstrong discusses the new AACTFest 2015 Handbook with Festival Chair and AACT Festival Commission member Sharon Burum at the Oklahoma Theatre Festival held in Duncan, OK, July 10-13, 2014. Ron Ziegler
Idaho State Contact George Green (right) presides over the first meeting of the newly-formed Idaho Association of Community Theatre on June 7, 2014 in Boise, ID. In the center is key organizer Debbie Hertzog.
Florida State Contact Kristofer Geddie shares an informal moment with theatre legend Ben Vareen at aactWorldFest, held June 16-21, 2014 in Venice, FL. Mr. Vareen was at the festival for the entire week as a special guest and workshop presenter. 34 AACT Spotlight September/October 2014 Spotlight on Boards
If I Only Had a (Whole) Brain
by Twink Lynch
The major job of the Board is to make decisions for our At any given time, some right-brained members will be theatres in a group setting. These decisions focus on program, led through the Board meetings and activities by left-brained policy, people, and money. We all realize each Board Member members and vice versa. Thus, the process may be boring, brings a unique background to the process (e.g., gender, frustrating, and tiring for all. A left-brained leader will start ethnicity, geography, education, career, income, previous on time or die in the attempt, have an agenda, and “run a Board and/or theatre experience, basic value system). tight ship.” He will keep discussions on target and feel proud Each Board Member also brings a “brain dominance,” when the meeting is over in an hour or less. Conversely, the that is, whether he/she is left-brained or right-brained. Since brain dominance can have a mighty impact on the success of Some can actually use both sides Board and committee meetings, let’s look at some theories. with equal ease. Fortunate is the cientists studying the brain in the last 30 years Board that has one or two such Shave found that each hemisphere functions almost people to build bridges and directly opposite to the other. The left side is rational, linear, sequential and serious. A left-brained person uses knowledge interpret for the others. and facts logically, succeeds with math and language, follows rules, likes order, works by the clock, does things “by the book,” engages in two-dimensional thinking, and is concerned right-brained leader will seek creativity in a brainstorming with the “bottom line.” session, allow ample input, and get excited by “off-the-wall” The right side of the brain is illogical, irrational, intuitive, approaches. This leader may not understand the impatient playful, creative, holistic, spontaneous, and flexible. A Board Member who demands to “move the agenda.” right-brained person indulges in fantasy, engages in three- dimensional thinking, works in polychronic time (not oth kinds of people have much to contribute to determined by units), is turned on by the arts, uses “common Bdecision making. The right-brained are probably more sense,” and takes feelings into consideration. tuned in to the production aspects and people in your theatre, but the left-brained will be sure we build realistic budgets, pay esearchers discovered that 90 percent of all children bills, and ultimately get the show up on time. We need both to Rare highly creative until age five. Since schools are be effective. But each will burn out the other if both views are organized around left-brain values, only 2 percent of children not understood and respected. ♦ are still highly creative by age eight. At school they learn to be on time, color in the lines, wait their turn, stand in line, and in short, conform. Their previous ways of thinking are For more on this brain dominance issue, read Time discounted as childish, emotional, and silly. The results? They Management for Unmanageable People by Ann McGee- grow up, clean up, finish one thing before starting another, Cooper (1994), available from the AACT Bookstore (www. and learn that big boys/girls don’t cry. aact.org/bookstore). By late adolescence, most people seem to be primarily either “right-brained” or “left-brained.” Some can actually use both sides with equal ease. Fortunate is the Board that has Twink Lynch wrote a regular column on boardmanship for one or two such people to build bridges and interpret for the Spotlight for many years. Her early articles are compiled into others. a still relevant book for boards: Boards in the Spotlight. See ad on page 36 for ordering information. eft-brained people like efficient meetings that run on Ltime. I feel certain that Colonel Robert (who wrote Reprinted from Boards in the Spotlight (page those infamous “Rules”) was left-brained. Right-brained 45). Originally appeared in Spotlight, March, 1995. people, who tend to be more sociable, will probably stop coming if the meetings aren’t “fun.”
September/Octoberr 2014 AACT Spotlight 35 Years of Service In celebration of our volunteers, the AACT Board of Directors recognizes the following volunteers who have served AACT as Board members, on committees, and as State Contacts. AACT congratulates and appreciates these volunteers with AACT Years of Service pins.
25 years 5 years Joanne Berry Bay City, MI Tracy Alexander Midland, TX Bob Kafka Wauwatosa, WI Frieda Austin Weatherford, TX Sharon Burum Duncan, Ok 20 years Lori Chase Rotonda, FL Kay Armstrong Dallas, TX Vikki Hanrahan Ansbach, Germany Jill Patchin Grand Rapids, MI Yvonne Johnson Short Hills, NJ Stephen Peithman Davis, CA Rick Kerby Sarasota, FL Harv Thompson McFarland, WI Joan Luther Naples, NY 15 years Chad McDonald Cookeville, TN Murray Chase Rotonda, FL Lynn Nelson Tupelo, MS Dennis Gilmore Indio, CA Dotti Peek Indianapolis, IN Ginger Heath Monroe, NC Sara Phoenix Tulsa, OK Roger Strauss Moretown, VT 10 years Jon Douglas Rake Tacoma, WA Dave Sheppard Maynard, MA
Improve your board's perfor mance! In Boards in the Spotlight, nationally-recognized community theatre consultant Twink Lynch, Ph.D., brings you the benefi t of over 30 years of experience in helping nonprofi t boards.
Learn how to: "If you're new to working with groups, this book is the one to read fi rst. If you're an • Recruit & train the best possible board members old hand, you'll fi nd a new (or well-worth • Give direction to help them be eff ective on their own re mem ber ing) point in each chapter." Rod McCullough • Transform them into successful fundraisers Fulton Opera House
• Build a cohesive and collaborative team "It's great to see a light bulb go on over board members' heads as they begin to • Deal successfully with change & challenges un der stand their job and re spon si bil i ty." Fran Newton Niagara Falls Little Theatre Only $34.95* ($29.95* for AACT members) "A must-read." Includes 30 pages Order online at www.aact.org or of worksheets & Allen Shankles support materials call toll-free at 1-866-687-2228. Amarillo Little Theatre *plus shipping & handling
A M E R I C A N A S S O C I A T I O N O F C O M M U N I T Y T H E A T R E
36 AACT Spotlight September/October 2014 Opportunities & Resources Opportunities Listings do not imply AACT endorsement National Guild for Community Arts Fall 2013 National Arts Marketing, Education Development and Ticketing Conference 77th Annual Conference Arts Reach November 19-22, 2014 October 23-25, 2014 Los Angeles, CA Los Angeles, CA Join more than 500 leaders from 300+ or- Theme: Winning in the New World ganizations nationwide as they explore ways The National Arts Marketing, Development and to amplify our impact, increase demand and Ticketing Conference will focus on the myriad ways your organization support for arts education, and transform our communities. The fo- can benefit from the latest trends and technologies that others are cus of this year’s conference—catalyzing positive change through arts using to gain, retain, and upgrade patrons. education—has profound implications for all involved—staff, teaching artists, trustees, students, and partners in other sectors. Through AACT Members receive $130 off registration fees. your participation, you’ll gain knowledge, relationships, and inspira- tion to advance your organization and shape the future. EARLY BIRD DEADLINE - GET 2 FOR THE PRICE OF 1 BY OCTOBER 10 In addition to receiving the lowest price, when one person from an For program details and registration visit organization registers by October 10, another person gets to go for free. communityartsed.org Plus, each additional person is just $159. National Guild for Community Arts Education For program details visit 520 8th Avenue, Suite 302 artsreach.com/los-angeles-conference-2014.php New York, NY 10018 Arts Reach P.O. Box 91446 Long Beach, CA 90809-1446
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16 American Musical & Dramatic Academy 30 Luigi Jannuzzi 33 Backdrops by Charles H. Stewart 22 Music Theatre International 39 Bingo the Musical 18 The MT Pit 21 BMI Supply 31 Murder Inn by Voland/McGregor
36 Boards in the Spotlight 11 Nashville the Musical 25 Buddy Worldwide Ltd 3 Plays for Young Audiences
8 Classics on Stage 31 Spacious Acting 23 Comedy Plays 30 Spencer Community Theatre Costume Shop 29 David Spicer Productions 6 Steele Spring Stage Rights 13 Dramatic Publishing Company 5 Summerwind Productions 10 Focal Press 9 Ted Swindley Productions, Inc. 21 Haywood Arts Regional Theatre Backdrops 2 Theatrical Rights Worldwide 17 Heuer Publishing LLC 19 Theatrical Rights Worldwide 28 Jim Inman
Thanks to our advertisers! Reach a perfect audience Advertise in Spotlight Please patronize our advertisers and mention for all things theatrical. that you saw their ad in AACT's Spotlight. Contact Darlene Delorenzo [email protected] 866-Our-AACT
September/Octoberr 2014 AACT Spotlight 37 When Who/What Where Information
Sept 19-21 New Hampshire Community Theatre Association NH Concord 603-557-8467 «New Hampshire State AACTFest 2015 nhcommunitytheatre.com Events Calendar Events Sept 27 Connecticut Community Theatre Association CT Naugatuck 860-489-7180 «Connecticut State AACTFest 2015 phoenixstagecompany.org
Oct 9-11 Georgia Theatre Conference GA Columbus 229-985-8194 «Georgia Community Theatre Festival georgiatheatreweb.wix.com/gtc- website Oct 10-12 Installation Mgmt Command - Europe Region Kaiserslautern, Germany 011-49-631-411-6252 «Region X AACTFest 2015 facebook.com/groups/ 30984348548/ Oct 23-26 Virginia Theatre Association VA Norfolk 540-604-1190 «Virginia State AACTFest 2015 vtasite.org Oct 24-26 Alabama Conference of Theatre AL Guntersville 205-275-7790 «ActFest 2015 alabamaconferenceoftheatre.zeekee interactive.com
Oct 24-26 Illinois Theatre Association IL Springfield 630-305-7348 «Fire on the Pairie: Community Theatre Festival illinoistheatre.org
Oct 24-26 Tennessee Theatre Association TN Maryville 865-660-1177 «47th Annual Conference tennesseetheatreassociation. weebly.com/
« Indicates festival in the AACTFest 2015 Cycle For dates farther ahead, check the website: www.aact.org
Moving On
Theatres recently selected to represent their states in AACTFest 2015
Some states qualify to send two shows to the regional festival.
Reg State Theatre From Production
I ME L/A Community Little Theater Auburn Am I Blue
I MA The Hovey Players Waltham Rabbit Hole
I MA The Lexington Players Lexington Spring Awakening
VI OK ONstage Woodward Woodward Graceland and Asleep on the Wind
VI OK Shawnee Little Theatre Shawnee Gidion’s Knot
38 AACT Spotlight September/October 2014 “FUN-LOVING MUSICAL THEATER” - New York Times
THE WINNING musical
A SPLASHY, ZIPPY, FUN NEW MUSICAL COMEDY! - The Minneapolis Star-Tribune EXTREMELY FUNNY AND WHIMSICAL! REALLY FUN! - Associated Press - Newsday
PERFORMANCE RIGHTS AVAILABLE FOR MORE INFORMATION VISIT THROUGH SAMUEL FRENCH, INC. WWW.BINGOTHEMUSICAL.COM WWW.SAMUELFRENCH.COM OR EMAIL ERIN PARKER AT ACCOMPANIMENT TRACKS AVAILABLE [email protected]
September/Octoberr 2014 AACT Spotlight 39 Nonprofit Org US Postage PAID Wichita, KS Permit No. 68 1300 Gendy Street Fort Worth, TX 76107
ADDRESS SERVICE REQUESTED
NATIONAL COMMUNITY THEATRE FESTIVAL JUNE 23 - 27, 2015 GRAND RAPIDS, MICHIGAN
from AACTFest 2013 in Carmel, IN Golda’s Balcony Theatre Winter Haven, Winter Haven, FL Dr. Jeckyl and Mr. Hyde Elkhart Civic Theatre, Bristol, IN To Gillian on Her 37th Birthday OnStage Playhouse, Chula Vista, CA
presented by Workshops Meetings Networking Fun FUN and more FUN! at the luxurious Twelve award winning productions at the beautifully restored Grand Rapids Civic Theatre in downtown Grand Rapids 866-OurAACT [email protected]
AACT Spotlight September/October 2014